It can be difficult to gain a balanced perspective on an album after reading a single summary of the music. Bias can tilt a review, as can personal taste, history and just about everything else that is unique to the person writing it. So in an effort to offer an expanded perspective in such a medium, here are four reactions, four impressions, Four Takes on Veckatimest by Grizzly Bear.

Not unlike what Animal Collective did earlier this year with Merriweather Post Pavilion, Grizzly Bear have created an album that should finally allow them to gain a wider appreciation. While Horn of Plenty and Yellow House were both great discs, the band has finally captured their lightning in a bottle with the stunning third LP Veckatimest. I have been excited for this disc ever since songs started leaking last year, one of which, “While You Wait for the Others,” ended up on top of my 2008 year end list of best songs. Their baroque-leaning pop music is presented in all of its elaborate glory on the amazing tracks ranging from the pop-y “Two Weeks” to the densely melodic and pastorally textured “Cheerleader” and “Fine for Now.” The record is an exuberant and bubbling journey that explores, and in many cases fully realizes, just how rewarding experimental pop music can be. Even though this disc comes close to capturing their previously hinted at commercial and artistic potential (again like Animal Collective), I fear that it may not be fully appreciated outside of a smaller sub-section of music lovers. Hopefully I am wrong though as this is a wonderful disc that shows Grizzly Bear at their dizzyingly hypnotic best and provides a glimpse into a band that is unafraid to take chances and has emerged as one of the very best bands around right now. [Josh Keller]

There’s something to be said for following the advice of others… sometimes. Those largely unfamiliar with Grizzly Bear could easily find its latest album achingly dull. Much of Veckatimest sounds as though the band is casually treading through the recording, adding instruments and a quilted padding of sound below each track to magnify their impressiveness. Further inspection uncovers the lackluster lyrics that lay below much of the record’s layered sound. But those layered sounds are some of the most luscious to blossom from a sea of releases that has already propelled 2009 to being one of the best, musically, of the decade. True, the band is unable to match the craftsmanship of the lyrics to the majestic sounds that embrace them, but that’s one of the album’s most alluring characteristics. “Southern Points” takes “Never say it’s the last word/It’s not the last word/I never find any other/I could ever” and twists the words into a heart-pounding conclusion. And the harmonies which the band filters its vocals through are immaculate, as evidenced by the transformation of the chorus of “Two Weeks” from a bunch of lifeless lyrics to into a rapturous eruption of sound. But in all fairness, both sides make equally valid claims. Veckatimest is musically blissful and isn’t easily assessed based on a single listen. At times it’s a bit weary, and as background music it fails at explicitly attracting a listener’s attention. But when you take the time to follow each song, tracing its motions to conclusion, any attempt at calling the album dull becomes moot. I’m glad I took the advice of my friends, some of which have equated it to the second-coming, some of which have called it the musical equivalent to dry toast. I just think it sounds really, really good. [Chris DeLine]

Many times when a band takes a turn in a poppier direction they do it at the expense of their art’s uniqueness or complexity (and are thoroughly raked over the coals by their “original” fans for doing so). Groups that manage to do it, while circumventing the “sellout” black hole, should be lauded. And that is precisely why Grizzly Bear’s Veckatimest deserves every bit of drool that’s being dripped on it throughout the blogosphere. The quartet has injected some upbeat tempos into their spectral electro-folk harmonies, essentially mixing the obtuse symmetries of 2006’s Yellow House with the practical harmonies of Daniel Rossen’s 2008 side project, Department of Eagles. The result is a gorgeously crafted pop record that will satisfy both the aesthetic as well as the nerdier sides of your psyche. Standout tracks include the straightforward “Two Weeks,” which showcases the groups harmonizing ability, as well as the haunting “While You Wait for the Others,” which is on my shortlist of the best songs of the year. As always the band’s musicianship is flawless, as evidenced by the intricately laced and seamlessly executed guitar work of opener “Southern Point.” Another gem, “Ready, Able,” takes a little time to get its legs, but also contains one of the album’s more memorable climaxes. “About Face,” “Cheerleader,” “Fine For Now”… shit, there are too many standouts on Veckatimest to count them all. Yeah, this is one of the best records of the year for sure. But if you have been paying the slightest bit of attention to music this year you probably already knew that. [Jon Behm]

(photo by Tom Hines via Grizzly Bear)

Subtlety is a tricky thing, whatever the art form. And if your audience isn’t quite ready for it, or even worse, not paying attention, certain delicate but astute nuances can unfortunately be missed, no matter how much care an artist puts into crafting their work. Fortunately, Grizzly Bear don’t really have to worry about that as they not only have an audience who’s ready for their brilliant new record, Veckatimest, but it also seems the entire blogosphere is paying attention as well, as this is surely one of the most anticipated records of the year. And, under that intense spotlight, the band delivers a marvelously intricate, striking record filled with understated production and gorgeous arrangements that sound impeccable upon the first listen. It’s simply an elegant, graceful record from start to finish, without a misstep amongst the album’s 12 tracks. “Two Weeks” and “While We Wait For The Others” have been garnering well-deserved praise in advance of the release, due to various television appearances and a well timed live debut that set bloggers’ tongues wagging. While those tracks are indeed stellar, I have been drawn to the more unadorned majesty of songs like “All We Ask,” with its compelling refrain of “I can’t get out of what I’m into with you,” and the soaring vocals of “Ready, Able.” Veckatimest is a record brimming with emotion and feeling, and those moods are easily conveyed to the listener through luxurious melodies and beguiling lyrics. Sure, subtlety is a difficult thing to convey properly, but when done perfectly, as it is throughout Veckatimest, the work ends up noticeably standing out amongst the din of all the artists that are either trying much too hard or overcompensating for something. For this record is unquestionably distinct and deftly pronounced, and might just stand alone when all is said and done, as the best record of an already incredible year in music. [Erik Thompson]

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